7.6 from P4k. Around what I would give it if Spin allowed a score (maybe more like 7.8-8.0) My ranking remains HV>B>SWB>IAETF>TWFM>A>SSFDL>S/T. Not their best work, and probably the one I'd least recommend to newcomers, but still beautiful and a dream for people who've been keeping up with the band for so long.
"“Rylan” sounds like a rewrite of every other mid-tempo National number directed at a character with a moderately memorable name, while “Hairpin Turns” adds ammunition the most frequent dismissal of this band: They’re boring." ugh shut up pitchfork
After a few listens I do roughly agree with the P4K rating. It’s my least favorite of their records since Alligator. I really like it. Strong addition to the discography. Boxer>Alligator>SWB>HV>TWFM>IAMETF>SSFDL>S/T
The Union Transfer show last night was insanely, insanely good. Played the new album for the first half, and old material for the back half with a hell of an encore. The National Setlist at Union Transfer, Philadelphia
Just to cut through the bad opinions: Sleep Well Beast was their best record, this one is even better
Not only do I disagree that this isn’t their best record, but I also disagree that it’s a lot of work and/or less accessible than anything else they’ve done.
too Arcade Fire for comfort, the band you’re basically responsible for making huge and award a 9.2 when they make a not very good record okay
I find it hilarious that this is what people who had the album early were trying to push and then the “normal” people hear the record and it’s instantly heralded as one of their best records.
i was wrong! the pfork reviewer didn't end up getting this record at all! that line about "where is her head" is baffling!
also: I hear way more people fighting the "they're boring" thing than I hear people actually calling them boring. it's been this way for the like 6 or 7 years I've loved them
This was never going to get as good of a review as The National was getting pre-SWB, but it's a shame that a record this daring from a band so deep into their career (a band who basically rose in tandem with the publication and was long considered one of the most Pitchfork bands out there) gets caught in Pitchfork's attempt to over-correct their years of almost exclusively praising (sometimes boring) white male indie rock.